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I have the dual receiver,2 lav transmitters and a butt plug on a 416. It’s a fantastic solution for the kind of fast moving and discrete doc work we do.

Settings - no different to video, really. Make sure your window of dynamic range is optimised from TX to RX to cam First check the TX mic input signal isn’t too hot, using the LED meter. Then set your camera levels to peak around -20. Run a dual channel at a lower level to catch overmod if you can. It’s the most convenient and bulletproof system I’ve ever owned/rented over 30 years, including various Microns and Lectros etc. A clever move by Sony - the SMAD is so convenient and reliable, it’s a significant factor that keeps me locked into the Sony ecosystem.

Thanks. I didn't know the dual channel option also works with the dual reciever. Am I correct that this can result in having 8 audio channels (when I do this with all microphone inputs)?
That explains why Davinci Resolve automaticly applies 8 audio channels for the Sony FS7

Thanks. I didn't know the dual channel option also works with the dual reciever. Am I correct that this can result in having 8 audio channels (when I do this with all microphone inputs)?
That explains why Davinci Resolve automaticly applies 8 audio channels for the Sony FS7

The FS7 will only record 4 channels of audio, but the XAVC standard allows up to 8.

Thanks.
I am relieved and disappointed, relieved that i didn't oversee the 'extra' channels in all the years I own the camera and disappointed that these 8 tracks only are annoying in Davinci.

So: My normal setup is two lavaliers and a shotgun on camera. So I have one spare channel to record an extra track with a different level. Or both lavaliers assigned to two channels, therefore without shotgun.

I have the dual receiver,2 lav transmitters and a butt plug on a 416. It’s a fantastic solution for the kind of fast moving and discrete doc work we do.

Settings - no different to video, really. Make sure your window of dynamic range is optimised from TX to RX to cam First check the TX mic input signal isn’t too hot, using the LED meter. Then set your camera levels to peak around -20. Run a dual channel at a lower level to catch overmod if you can. It’s the most convenient and bulletproof system I’ve ever owned/rented over 30 years, including various Microns and Lectros etc. A clever move by Sony - the SMAD is so convenient and reliable, it’s a significant factor that keeps me locked into the Sony ecosystem.

Ben.

I agree. The ability to have four channels of audio so easily and seamlessly is one of the reasons I purchased the FS7. I can't imagine not having those features moving forward after owning this camera. It is the most bulletproof system I've ever worked with, just like what you said.